Literary Magazine Curriculum Guide

Brief Course DescriptionLiterary Magazine is a composition and design course that combines the elements of a creative writing course with the publication of the magazine. Students are asked to continue to improve their own writing as they work to judge the submissions of others. Some assignments will be structured and may include feature stories and film reviews as well as the traditional poetry, narratives and other expected prose pieces. Of course, students will also work on the publication of the magazine, involving themselves in all aspects of the production. These responsibilities will include writing, editing, evaluating, judging, designing, fundraising and working within the community. Students who participate in Literary Magazine for multiple years will utilize advanced strategies in design and writing and develop leadership skills as work with younger staff members. Literary Magazine is strongly aligned with CCSS standards because of its consistent sustained emphasis on writing and reading standards, as well as the standards of speaking & listening and language. CCR standards require students to carefully consider task, purpose and audience while writing and to “produce complex and nuanced” texts by combining “elements of different kinds of writing” (W Note). Literary Magazine offers students the opportunity to explore creative avenues of expression while continuing to improve skills required of a college-and-career-ready student who will need to perform well in an age that values creativity, innovation and the ability to view the big picture.

Course Essential Questions How can student leaders guide staff member and create a document that captures the artistic

vision and voice of the student body? How do task, purpose and audience influence the development and organization of a particular

writing task? How do the elements of design enhance and guide the reading experience? How can writers and designers use structured conversation, feedback and criticism to improve

their work?

Discipline Specific Vocabulary1. Writing process2. Prewriting3. Drafting4. Revision5. Peer review6. Editing7. Publishing8. Reflection9. Narrative10. Poetry11. Prose12. Feature13. Review14. Design15. Layout

16. Spread17. Typeface18. Font19. Byline20. Credit line21. Editorial Policy22. Colophon23. Dominant image24. Theme25. Gutter26. Folio27. Lead28. Initial letter29. Pull quote30. Columns

Course Organization

There is no official CMS text for the Literary Magazine course. The text recommended and listed in this document is the fourth edition of Magazine Fundamentals, published by the Columbia Scholastic Press Association. The text can be ordered directly from the organization, and contact information for CSPA is included in the resources under Unit 1.

While some literary magazine staffs focus on soliciting content from the student body, an instructor working with an official class may want to actually initiate assignments. The sections on writing poetry, fiction and creative nonfiction are reprinted from the Creative Writing Curriculum Guide. The texts listed in those sections are purchased by CMS for use in the creative writing courses so an instructor in this course should be able to share resources and coordinate with creative writing instructors.

Although the course is divided into units, instructors should consider the guidelines fluid and overlapping. Since the ultimate goal of the course is the publication of the school’s literary magazine, instructors will need to plan instruction while considering their printing deadlines, financial constraints, class experience and school culture. Topics introduced early may continue to be points of emphasis in other units, and instructors might pull a topic from a later unit and introduce it earlier in the course. Units can be divided and revisited. Because course objectives will consistently target CCR standards for writing, reading, speaking & listening and language, the organization and emphasis is flexible.

Several of these activities require a supply of magazines, and these can be referenced throughout the year as a source for design inspiration. I recommend keeping a generous source file in the classroom. These can come from a variety of sources—teachers, students, libraries, etc. They should be magazines that focus heavily on design and not just content. (You might find, for example, that financial magazines do not offer much in the way of innovative design.) They magazines should be somewhat current (not years old), but caution students against swiping Mom’s latest O Magazine before she has read it!

The units do not list summative assessment options since the publication of the final magazine can serve in that capacity. Advisers can certainly utilize portfolios and other methods to critique student performance throughout the course.

Unit 1Organization of Staff and Tasks

Unit 1 Essential Questions How is a staff selected and organized? Is staff participation a right or a privilege? How does a staff decide on the content of a magazine? How does a staff create a stylebook? How can professional organizations help a literary magazine staff?

Unit 1 Vocabulary Critiques Submissions Staff Editorial policy Copy Layout and design Cover

Endsheets Spine Title page Masthead Table of contents Bylines and credit lines Colophon

Unit 1 Activities and Resources Magazine Fundamentals

“Chapter One: Organizing Staff, Organizing Tasks” will provide information about most of the activities below.

Activity: Mission/philosophy/editorial policyo Read samples as a class and discuss. o Editorial policy should include how works are selected, how the staff works, whether the

book is completed as a class activity or as a volunteer activity, etc. Activity: Organize Staff

o Some small staffs work without editors, and some work with rotating committees.o Some staffs have to main editing slots, such as text and technology or text and visual.o Other suggestions for possible staff positions:

Editor: the editor of the magazine must possess good grammar skills and must have an eye for detail. The editor will plan the magazine and be vital in the decision making process of content.

Assistant Editors: These editors take on a part of the editor’s job. Sometimes if you have two assistant editors, then they can oversee specific sections of the production of the magazine.

Layout Editor: This editor will be the one who makes final decisions of layouts. This editor must possess artistic skills and must have an eye for detail.

Art Editor: Chooses and makes decisions as to what types of artwork and where the artwork will appear.

Photography Editor: This editor oversees the photography for the magazine. This editor sets deadlines and makes sure all photos are in and ready for the magazine.

Fiction Editor: This editor will edit the fiction that will appear in the magazine. Organize a writing contest and he/she will look over and make decisions as to what will appear in the literary magazine.

Features Editor: this editor will work with members of the class to decide what types of feature articles will be done. Also, this editor will edit and make decisions as to which article will appear in the magazine.

Poetry Editor: This editor will edit poetry and organize a school wide poetry contest. This editor will make sure that all poetry is in and edited for the literary magazine.

Business Manager: Helps to brainstorm ideas for fund raising, maintains records and budgets. This person will handle the smooth running of patron letters (mailing, designing, etc)

Publicist: This person will work with everyone to publicize the magazine and to help coordinate fundraisers and contests.

Activity: Create a Stylebooko Helps foster consistency and collects tradition and knowledge of previous staffs.o Possible items to include:

A listing of the staff positions with the duties of each staff member CLEARLY defined.

Specifics for the title page: Name of the Magazine, Theme, School Name, Phone number, Price, etc. Document here anything that will always go on the title page.

Specifics for the table of contents spread: document your staff policy, and decide if the table of contents will list the staff members and colophon.

List in the Style book any specifics that your staff will need to know about layout: the amount of picas between copy, font point for titles, captions, credits, etc. Again, anything with layout that will remain constant should be listed in the style book.

List guidelines for photography, art and the literary selections that you will include in the magazine; list the types of articles and content that will appear in the magazine Again, these are general guidelines or standards that students may refer to in developing the magazine.

Include some sample layouts to refer to in designing the magazine. A stylebook in essence should include all of the aspects of the magazine that are

standard or consistent. Resources: State and National Organizations

o State and national organizations offer valuable information, critique services, staff and adviser training, workshops, publications for purchase . . . some of the top organizations are listed here:

o North Carolina Scholastic Media AssociationUNC Chapel Hill, North Carolina919-962-4639http://ncsma.unc/edu/

o Columbia Scholastic Press AssociationColumbia University, New York212-854-9401www.columbia.edu/cu/cspa

o National Scholastic Press AssociationMinneapolis, Minnesota612-625-8335www.studentpress.org

o Journalism Education AssociationKansas State University, Kansas785-532-5532www.jea.org

o Student Press Law CenterArlington, Virginia703-807-1904www.splc.org

Unit 2 Introduction to Design

Unit 2 Essential Questions How do advertisements influence design trends? What elements of design are pleasing to the eye? How does design work in concert with content to achieve purpose? What design elements appear consistently in modern publications?

Unit 2 Vocabulary Contrast Color Spot Color Dominance Black & white Typography Humor Images/Photos/Artwork Unity Variety Balance White Space Shapes Lines Text Movement Asymmetry Perspective Pattern/Rhythm Display head—

designed titles. Headline deck typeface (subtitle) Byline Body text typeface

Cutline Photo credit/art credit Graphic Dominant art/photo Sidebar/infographic/alternative story

form Jump line Reverse type Cutout Two-page spread design Single-page design Extra leading Logo/standing head Subhead/story break TOC organization Mondrian Gallery End mark Spot color Pull quote Tool line Drop cap

Unit 2 Activities and Resources Magazine Fundamentals

“Chapter Three: Creating a Concept, Designing the Look” Activity: Introducing Design with Advertisements

o Ask students to look through a variety of magazines and select three advertisements that appeal to them. It is important to clarify that they don’t actually have to select advertisements for products that they would actually buy—in fact, if they are drawn to advertisements for products that they wouldn’t buy, their selections will help illustrate how the elements of design can be used to draw in a reader (when those same concepts are carried over to page design).

o Students can select three advertisements, mount on construction paper, and make notes about what they notice on the back.

o Students will go around the room and present their ideas. Each student can do one advertisement at a time to make sure that everyone presents at least once. They can

turn in all the work in case everyone does not have time to present all three advertisements.

o While students are presenting, one student (or the instructor) can keep a running list of elements on the board. They can also put marks beside those that are mentioned multiple times so that there is a record of those elements that present themselves more consistently. These elements might include but are not limited to those items listed in the first column above.

o As a sort of homework assignment, ask students to look at magazines and see if they notice any of the same components in the design of pages for traditional articles.

Activity: Developing a Design Vocabularyo The instructor will present two different two-page spreads for the students to consider.

For the purpose of this assignment, there should be significant contrast in the styles of the spread design.

o Without any discussion of vocabulary or design concepts, students will write for ten minutes about which spread they prefer. Again, the choice should not be made based on content or on what they would actually read based on personal interests, but on which spread makes them WANT to pursue the article.

o After students have completed their assessments individually, the class can discuss as a whole. This will lead to a discussion of design vocabulary.

o Present Power Point with design vocabulary that includes elements of literary magazine design. The information included can include the vocabulary listed above and items from Magazine Fundamentals.

o While going through the Power Point presentation, students can use the magazines from previous years to illustrate the terms discussed in the presentation. Editors and returning students can pair with new students to serve as mentors and make sure everyone is on the same page.

o The presentation can be completed as the introduction to the following lesson if not finished on this day. Pacing can be determined by the instructor’s assessment of how well the new students are picking up the material.

Activity: Idea Fileo The instructor should make a list of items for the Idea File and give to students. Those

items can be taken from the vocabulary list above.o Students will work with a partner to find examples of the items on the sheet. Working

with a partner, they should try to identify two examples of each item. o Students will cut out the examples and paste onto paper.o Students can share examples after they are finished . . . or halfway through the activity

as a way to check for understanding. The discussion should include questions about what would and would not work in our magazine.

o The files can be put together in the Design Idea File that is maintained by the design editors. Students can add to the file throughout the year, and they can reference the file when they are looking for inspiration.

o The activity can be continued at home or during the next class period if it isn’t completed in one day.

o Note: Individual Idea Files can be compiled into the Design Idea File that is maintained each year. Editors can use the Design Idea File to discuss some design elements that will be consistent in this year’s magazine. All staff members can use the file to generate ideas for inspiration as they are working on spreads during the year. The design editors

should use the file to initiate conversations when they are working with teams on revising their spread design ideas.

Activity: Reversing a DesignThis activity comes from The Newspaper Designer’s Handbook, 6th edition, Tim Harrower. Although this text is specifically for newspaper design, many ideas can be transferred to the concept of magazine design.

o Turn to pages 38-39 in The Newspaper Designer’s Handbook, 6th edition.o Have students read the introduction to the article while passing out copies of the

sample dummy sheet from page 41. o Go through the activity together with the students. Students can collaborate with a

mentor but should complete individual dummy sheets.o Note: Beginning students should be partnered with veteran students who already have

experience with magazine design. Both students should still participate equally, but part of the responsibility of being a returning student is training new members and exhibiting leadership qualities as an experienced member of the staff. This is part of the requirement for fulfilling Honors Credit requirements as second and third year students.

o Pass out dummy sheet based on the magazine template for this particular publication.o Assign each pair a spread from last year’s magazine—or from a current magazine if the

staff has not published a magazine before. Pairs can work on different spreads. Each person should complete a dummy spread, but they can work through the process together.

Unit 3Advanced Design and Layout

Unit 3 Essential Questions How do the elements of design enhance and guide the reading experience? What are the components of an effective layout? What are the principals of good design? What are current design trends and how can they be incorporated in a high school publication? How do designers create an effective design package that maintains consistency while

emphasizing creativity?

Unit 3 Vocabulary pica spread columnar design headline kicker Byline: initial letter copy leading justified text folio gutter Candid

Caption overprint reverse rule line (tool line) screen Colophon spot color bleed Cross gutter bleed natural spread trapped white space end mark

Unit 3 Activities and Resources Magazine Fundamentals

“Chapter Three: Creating a Concept, Designing the Look” Activity: Practice Spreads

o Discuss principles of magazine design Handout. Information can come from Magazine Fundamentals or other resources and should include instruction on dominant elements, focal points, and the flow of spread design.

o Students will work independently to create their first spread design. All students should complete a spread independently, although they can collaborate with their mentor.

o Students should first sketch ideas at least three ideas for a prose spread design. They are welcome to use the design file and other magazines around the room for inspiration.

o Students should then finalize a spread design idea using the dummy sheet they learned about in the previous lesson.

o Students should then complete full-size mock-ups of their spreads. Students should use the layout sheets and paste the corresponding items, paying careful attention to picas, etc. Magazine photos can stand in for real photos (unless they want to print any photos or art from the server), construction paper for text, and markers can assist in the creation of title fonts. All elements of appropriate page design should be considered.

Activity: InDesigno Instructors can create a set of instructions to go with the version of InDesign available

on school computers—or instructions for any online program that is being used for the layout of the magazine. Numerous tutorials are available on YouTube and various websites.

o Select one spread that the staff will layout together using the sample instructions. Provide photocopies of the spread to each staff member, or project using document camera or other device.

o The instructor can handle the assignment a number of ways depending on the staff. If there are numerous new students, the instructor might want to go through the instructions step-by-step. If there is a solid mix of old and new students, they can work with a mentor who takes them through the process. If the class is full of technologically savvy students, the instructor could let them work through the directions as an independent tutorial.

o If time and circumstances, editors can create their own files and assignments to mimic what we are doing here.

o The lesson can be continued over the course of multiple class sessions as needed. Activity: Independent InDesign Practice

o Students will work independently to recreate a prose spread from a published magazine. (Not with step-by-step guidance from a peer or instructor)

o The instructor can give any prose spread. Consider a spread that would offer significant opportunity to practice different elements of design.

o Students should actually begin by plotting out the spread on the dummy sheets.o If students finish, another idea is to give them one half of an effective spread—they can

recreate this half and then design a second page that would work as a facing page. The design below would work well.

o Students may use different photos, etc—they should simply try and emulate the design itself.

o This lesson could be continued for multiple class periods. Activity: Independent Spread Design

o Students will now put together all the previous learning and design their own spread.o Editors may at this point provide them with actual text and art options from the

magazine submissions. Or, depending on the staff timeline, the instructor can simply make options available or let them generate their own files.

o Students will create their own independent spreads on InDesign. They can use the spread that they pasted-up in the earlier lesson; they can use that spread with modifications based on what they have learned/seen in the interim; they can start completely from scratch.

o They may still collaborate with their mentors, but each student should still complete an independent design.

o This lesson can be continued as many class periods as needed depending on the skill level and experience of the class.

Activity: Using Magazines for Inspirationo Students should try and look through a variety of magazines for inspiration. They should

look through the spreads and layouts with real articles of text and NOT just advertisements for products. Searching through magazines should force students to identify which design techniques work or do not work.

o Students should focus on analysis of spread design and design basics—referring to the list of design basics might help students go through the decision process of why they like or dislike the spread design.

o Students should identify the different design aspects that drew them to the spread. Was it the cohesive use of color, the unique title, the dominant element, the photograph/artwork/ graphic, tool line, bleed, or pull quote? What catches the reader’s eye?

o Students will attach your two page spread inside a manila folder or on construction paper, as pages in a book—each page of the spread pasted to its respective side flap. When the manila folder is opened, you should be able to clearly see the chosen spread.

o The three likes and three dislikes should be written neatly on the outside of the manila folder or on the back of the construction paper. One outer side should be dedicated to likes and one should be dedicated to dislikes.

o Students will write three specific comments for each category, so students should have three comments about their dislikes of the spread, and three specific comments about

their likes of the spread. These comments are to be made in complete sentences and should point out what design aspects the students noticed about the spread.

o Dislikes should represent parts of the spread that were not appealing, could be changed or were not visually appealing. (For example, the spread was stagnant and too cluttered/top heavy/dull/unoriginal/etc.) However, it is also important to make comments about how one would FIX this problem. (To unclutter the space, exclude redundant…)

o Likes should point out the positive aspects of the spread, such as efficient use of white space, clean design, original title, catchy pull quote, the flow of movement from one page to the next, etc.

o Students should share their work with the entire class so that everyone can see trends and get ideas for what they are working within the actual magazine. The Design Editor can also save them for future conversations and the Idea File.

Unit 4Typography

Unit 4 Essential Questions How do variations in typography affect the readability of a text? How can a publication create contrast and hierarchy using typography while still maintaining

consistency and readability? What are effective ways of combining typographic elements while designing headlines? How does typography influence design? What are current trends in typography?

Unit 4 Vocabulary Font Typeface Baseline X-height Cap height Stem Ligature Terminal Serif Descender Ascender Bowl Cross bar Counter Finial

Spine Sans serif Slab serif Script Uppercase Lowercase Small capital Kerning Tracking Leading Pica Point Left-aligned Justified

Unit 4 Activities and Resources Magazine Fundamentals

“Chapter Three: Creating a Concept, Designing the Look.” Particular emphasis on pages 89-97. The Newspaper Designer’s Handbook

“Basic Typography” pages 22-25. http://bradleywilsononline.net/handouts/design-and-typography/

http://www.newsu.org/courses/typography-news-design http://fontfeed.com/ http://www.fontshop.com/education/ Activity: Basic Typography Instruction

o Design a PowerPoint or other instructional presentation to familiarize students with typography basics and how to create contrast in headlines. Information can be found in the sources above or others found online or in print.

o Create a folder with different examples of body copy for the same piece of literature and discuss the readability. Make sure students use the correct vocabulary to discuss the variables in the type and what makes one more readable than the other. This will lead to a discussion of the recommendations for body copy and how you will use them in your publication.

o Use samples of spreads and professional magazines and have students discuss the typography choices. Follow the same format as analyzing design samples in the earlier lessons. Students can continue to practice this activity throughout the year, or it can be folded in with the “Using Magazines for Inspiration” activity in the previous unit.

Activity: Creating Contrast with Typographyo Review information on how to create contrast in typography. Also discuss how to mix

and match in display copy (headlines). Again, information available in all of these resources.

o Create an InDesign File that has a completed spread with only a space remaining for a headline. This can actually be a newspaper spread—it will limit the space and force students to be creative within defined parameters while they are beginning.

o Students should read the story and come up with a 2-5 word headline.o Write a “nuts & bolts” deck that will go under it. o Students should design at least four headline packages that could work in the space. As

they finish one, they can move it off onto the pasteboard. o Students should keep the following in mind as ways to create contrast in their

typography choices:o Sizeo Weighto Formo Structureo Coloro Direction

o Students may need some additional tips on InDesigno To group items, use the select tool, draw a box around the items to be grouped,

Object, group. Then these can be moved off the page.o To copy a group—select the group. Apple C—copy. Apple V—paste.

o Students should be prepared to share their work and critique their ideas and the ideas of others.

Activities: Typeconnection.como This resource offers myriad opportunities for students to work on typography practice.

They can play the match game and really analyze how fonts work together.o Students can also be assigned research projects from the “Resources” page of this

website. For example, students might research and present their findings on three of

the resources listed. Then all students can share their findings and discover the information most useful for your practice.

Activity: Designing with Typographyo Students will draw a subject at random and will design an advertisement/poster/flyer

for that subject implementing the rules of typography.o For example, they might advertise that the circus is coming to town or that a shoe store

has a terrific sale. o Students will print one clean copy and one annotated copy where they mark up the

rules of combining typography that they have implemented.

Unit 5Feature Article

Unit 5 Essential Questions What is the difference between a feature article and a news article? How can an interview enhance a feature article? How can a feature article date your magazine, and why is that important? What are the most effective interview strategies, and how can you enhance your questioning

skills? What are the different elements of a feature story, and how can a writer use structured

conversation, feedback and criticism to improve his piece? How does a writer use knowledge of language to make appropriate choices for meaning and

style of a particular writing task?

Unit 5 Vocabulary Feature Interview Dating a publication Fact-finding questions Emotional questions Hypothetical questions Lead Descriptive lead Summary lead Shocking statement lead Contrast/comparison lead Suspense/teaser lead Literary/historical allusion lead Direct address lead Quote lead Question lead Summary conclusion Restatement conclusion Proximity conclusion Wordplay conclusion Quote conclusion Surprise conclusion

Unit 5 Activities and Resources Activity Step 1: Select a Topic. Consider the following:

o Literary merit. Would an article about your topic feel comfortable alongside other pieces in the magazine?

o Location. Remember that most readers live in the Charlotte area, so choose something that would be easily accessible.

o Relevance. Will the students reading your feature relate to it? For example, a local Chuck E. Cheese giving away thousands of dollars to benefit the hungry is a great initiative, but how many high school students go to Chuck E. Cheese?

o Date. A term used often when referring to the feature article is that it “dates the magazine.” Your feature needs to be about something that readers will be able to look back on many years from now and associate with this time period. The topic doesn’t have to be the latest technology breakthrough or the hot-off-the-presses news event, but it should be something that is generally current.

o Interest. Try to choose something that readers would enjoy reading. Choose something that interests YOU. If you truly like your topic, then learning more about it will be enjoyable. Lastly, pick something that you are not a complete expert about. Instead, choose something that you have a longing to know more about.

Activity Step 2: Topic Approvalo The adviser should approve all topics. Avoid overlap and make sure students are on the

right track. Activity Step 3: Set up Interview. Activity Step 4: Research Topic.

o Do some light research about your topic so that you have an understanding of it before you begin to write your interview questions? Remember that your interview questions will consist of queries beyond what can be easily found online. Don’t embarrass yourself or your publication by just going through the motions in an interview.

Activity Step 5: Write Interview Questionso A strong interview is more like an informative discussion than a scripted question-and-

answer session. As the interviewer, you want to inspire conversation, follow-up on interesting comments or observations—get the person telling stories instead of just responding to specific questions.

o Preparation is key, and an interviewer should ask a variety of questions. The instructor can provide instruction on the types of interview questions. These should be submitted to the editor prior to the interview.

o The class can also practice interviewing or watch good and bad examples from YouTube and critique.

Activity Step 6: Conduct Interviewo Remember to be friendly, personable, and professional. Keep in mind that you are a

representation of the literary magazine and, for that matter, your school. Act and dress professionally; wear something you might wear to a job interview.

o Take paper and pen with you (or, depending on the setting, your tape recorder). Try to write down as much of your interviewee’s responses as you can, but don’t get so consumed with scribbling down every single word that you forget to “soak in” what the interviewee is trying to say.

o Don’t jump straight into your questions. Make small talk first, and try to keep the tone conversational so your interviewee doesn’t feel put on the spot. Go from question to question naturally; follow what your interviewee is saying rather than jumping around.

o Listen for direct quotes you might want to use. These can be very powerful and add validity to your article. Also, don’t feel restricted to the questions you prepared ahead of time. Ask whatever pops into your mind, or probe for information you didn’t think to ask about. Just make sure you write down everything important.

o Remember that your questions are not limited to JUST what you have prepared ahead of time. If your interviewee says something that you might want to know more about that you weren’t expecting, ask an impromptu question.

o When you’re done, thank your interviewee. Before you leave, get his/her contact info for any further questioning, or anything you may need (photos, etc.).

Activity Step 7: Type up Transcript Activity Step 8: Write Feature Article

o What are you trying to say to your reader? What is your purpose?o Develop your story with detail.o Maintain logical organization and consistent tense. (Outlines are helpful.)o Keep your reader in mind. Present the information in a clear, easy-to-read format. Don’t

make your paragraphs too long or short and make sure you don’t over simplify or complicate.

o Seamlessly integrate the quotes from your interview along with other non-quoted information. Don’t have a huge, long paragraph that’s nothing but quotes.

o Please don’t make up information. Fact-check.o Pay careful attention to the lead and the conclusion. Ideas are listed in the vocabulary

section above. Activity Step 9: Peer revision groups Activity Step 10: Revise Feature Article Activity Step 11: Final reviews submitted; editors select entries for magazine.

Unit 6Review (Movie/Book/Music)

Unit 6 Essential Questions How can a film review date your magazine, and why is that important? What are the elements of a quality film review? How can a writer use structured conversation, feedback and criticism to improve his piece? How does a writer use knowledge of language to make appropriate choices for meaning and

style of a particular writing task? How do film techniques influence our understanding of characters, mood, plot, or theme? How do films connect to my life, the world, or other texts?

Unit 6 Vocabulary Characterization Plot Cinematography Synopsis Rating

Producer Director Dialogue Based on Action/adventure Animation Comedy Documentary Drama Horror/thriller/suspense/mystery Romance Science Fiction/fantasy Musical Lighting Sound effects Special effects

Unit 6 Activities and Resources Activity : Read sample reviews

o There aren’t easy answers for writing movie reviews. Where do you start? How much plot do you summarize? The answers may be different for every review. The best way for students to become familiar with reviews is to start reading them on a consistent basis, paying careful attention to how the reviewers handle their subject matter. They can read independently. Also a good idea to read as a group and discuss together.

o Certain websites and periodicals are great resources, including The New Yorker, Entertainment Weekly, The New York Times, NPR, local newspapers and other online organizations.

Activity: Write a review together.o Have the class watch a film together and write the review on the same film. Students

then go to groups and work together to improve the reviews before submitting final copies for a grade. This helps with early conversations because they can see how different people handled the same film.

Activity : Assign topics for reviewso Start keeping an eye out for possible topics now. Websites like www.IMDB.com (for

movie listings), www.amazon.com and www.nytimes.com/ pages/books (for books) are great resources for ideas. Some sources, such as Entertainment Weekly, publish detailed previews of pending releases. Films must have a rating suitable for a high school audience.

o Some examples of acceptable review topics: Academy Award nominees, Grammy nominees, literary novels, Nobel and Pulitzer Prize-winners. In general, though, anything with genuine worth is fine. This can include “obscure-but-amazing” works, works with cultural impact, or works with an anniversary this year. The adviser should approve topics. Every film is not the best choice for the literary magazine.

o Because movies/albums/novels come out at different times throughout the year, there will be several different due dates, usually three. The date you select should correspond with the release date of the topic; however, assignment dates must be balanced. In

other words, everyone cannot sign up for the last release date. Experienced staff should volunteer for the earlier dates.

o Do not read reviews of the film that you will be reviewing, Unless it is a re-release and you will be comparing it to earlier reviews.

Activity : Write the reviewo Develop a sophisticated critique of the work. DO NOT be one-sided. A work cannot be all

good or all bad, so no bash/praise pieces. However, if you feel that the selection was overall very good or very bad, make sure your opinion comes through. This review is about your thoughts on the work, not about pleasing everybody. Just make sure that your commentary is backed up with specifics from the film—just as you would make sure to use the text to back up a piece of literary analysis.

o Make the piece relevant. Any connection that a work has to society, to a group of people, or to you personally makes it more valuable. Show that you have a reason for writing your review. Anecdotes are one way of showing these connections.

o Avoid broad statements—again, be specific. Back up a statement with a relevant example from the film.

o Give an in-depth analysis, not a complete explication of the plot. Give a brief summary of the work, but don’t give everything away! Nobody wants a plot spoiled for them.

o Movies should be evaluated based on their cinematographic value (mostly). Don’t pan a piece because you don’t like a particular genre, actor, etc.

o Attribute appropriately. Remember that actors aren’t responsible for the lines they say; the writers are. How they say them, however, is the actor’s responsibility.

Unit 7Evaluating Submissions

Unit 7 Essential Questions How would you describe the policy of your magazine? (inclusive or exclusive) How broad will your appeal be? How will you work with artists and writers who have submitted work? How will you solicit submissions from the student body? How will you evaluate these submissions? How will you guard against plagiarism?

Unit 7 Vocabulary Submissions Critique Policy Editing revision Plagiarism

Unit 7 Activities and Resources Magazine Fundamentals

“Chapter Two: Soliciting Variety, Evaluating Submissions.” Activity: Create Evaluation Policies

o Will the entire staff read submissions?o Will they be judged blindly?o Will there be discussion and/or limits?

o Will visual elements be picked under the same guidelines or will they be picked to correlate with the written submissions?

Activity: Create Evaluation sheets for poetry, prose nonfiction, and prose fiction. The section in Magazine Fundamentals offers a series of questions to guide you in the creation of these sheets.

Activity: Practice Evaluation with staff prior to actual submission date.

Unit 8Creative NonfictionAs mentioned in the Course Organization Section, this information is included in the Creative Writing Curriculum Guide and can be used to facilitate writing instruction in this area as needed.

Unit 8 Essential Questions How are pieces of creative nonfiction different from traditional, formal essays? How does the author’s purpose contribute to the construction of a creative essay? How can a writer’s history and/or beliefs contribute to a creative essay? How does point-of-view contribute to the construction of an essay? How does the consideration of audience contribute to the construction of an essay? How do authors establish tone? What is a writer’s style? How do content and purpose determine style?

Unit 8 Vocabulary Narrative Point-of-view Tone Author’s purpose/theme Style Audience

Unit 8 Activities and Resources Student Textbook—Everyday Creative Writing: Panning for Gold in the Kitchen Sink

Section 2: “Around the House”Section 3: “Down the Street”Section 4: “In the Gold Mine”These sections include a variety of exercise that work equally well for poetry, fiction or creative nonfiction assignments. Samples are provided for each genre. Instructors can use any given assignment and simply specify the genre to fit the unit requirements.

Instructor’s Manual—The College Handbook of Creative Writing Chapter 5: “Point of View”

Although the chapter focuses on the use of point-of-view in fiction, the exercises can be applied to a discussion of creative nonfiction so that students can seriously consider the point-of-view and how it might be altered for a different perspective. Students can also explore the differences and similarities between creative nonfiction and fiction.

Chapter 6: “Tone and Style”This chapter explores the varieties in tone and style and includes passages on the same subject and situation with different tones.

Unit 9

Poetry

Unit 9 Essential Questions What distinguishes poetry from prose, and how does one know when the poetic format is the

most appropriate choice? How does diction contribute to the construction of the text? How do sound, rhyme, and rhythm work to contribute to the construction of a poetic text? How do the different types of figurative language contribute to the construction of a poetic

text? How do choices in syntax contribute to the construction of a poetic text? How does author’s purpose contribute to the construction of a text?

Unit 9 Vocabulary Form poetry Free verse Diction Rhythm Rhyme Figurative Language (metaphor/simile/imagery, etc.) Syntax

Unit 9 Activities and Resources Student Textbook—Everyday Creative Writing: Panning for Gold in the Kitchen Sink

Section 2: “Around the House”Section 3: “Down the Street”Section 4: “In the Gold Mine”These sections include a variety of exercise that work equally well for poetry, fiction or creative nonfiction assignments. Samples are provided for each genre. Instructors can use any given assignment and simply specify the genre to fit the unit requirements.

Instructor’s Manual—The College Handbook of Creative Writing Chapter 1: “Theme.” This chapter emphasizes the fact that all pieces of literature are

written for a reason. The author discusses themes that have emerged consistently in literature and how authors create those themes.

Chapter 6: “Tone and Style.”This chapter explores the varieties in tone and style and includes passages on the same subject and situation with different tones.

Chapter 11: “Images and Sounds”This chapter offers a detailed discussion of sound and imagery as well as examples and explanations of different poetic forms (blank verse, limerick, etc.).

Unit 10Fiction

Unit 4 Essential Questions How does a writer develop a theme? How does an author use the elements of characterization to create realistic and relevant

characters? How can a writer’s history and/or actual events contribute to a fictional piece?

How does the writer find the balance in description—giving enough detail while avoiding excessive details that distract from the effectiveness of the text?

How does the setting contribute to the effectiveness of a literary work? What characterizes effective dialogue? Why is dialogue important in fiction? How does plot contribute to the effectiveness of a literary work? What are the components of

plot that must be considered when constructing a piece of fiction?

Unit 10 Vocabulary Fiction Characterization Setting Dialogue Plot Conflict Theme

Unit 10 Activities and Resources Student Textbook—Everyday Creative Writing: Panning for Gold in the Kitchen Sink

Section 2: “Around the House”Section 3: “Down the Street”Section 4: “In the Gold Mine”These sections include a variety of exercise that work equally well for poetry, fiction or creative nonfiction assignments. Samples are provided for each genre. Instructors can use any given assignment and simply specify the genre to fit the unit requirements.

Instructor’s Manual—The College Handbook of Creative Writing Chapter 2: “Setting.” This chapter details the variety and significance of setting. Chapter 3: “Characters.” This chapter emphasizes the importance of believable

characters that can convey the author’s message about the human experience. Chapter 4: “Plot.” This chapter focuses on the differences between story, action and plot

and explains how they are related. Chapter 7: “Description.” This chapter emphasizes selective and significant description

and how it should appeal to the five senses. Chapter 8: “Dialogue.” This chapter illustrates the different ways that authors use

dialogue. The author maintains that dialogue, like description, must be selective, significant and involve careful word choice.”

Chapter 9: “Thoughts”This chapter offers a detailed discussion of how authors can reveal the thoughts of the characters in a piece of literature.